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Sharon Jones & The Dap Kings
Sharon Jones & The Dap Kings

Last weekend we went to catch Sharon Jones and the Dap-Kings at the Prince of Wales here in Melbourne. We had been hearing these rave reviews for about a week before the show, so we were hoping it wouldn’t spoil it if they weren’t as good as everyone was saying they were. Even radio DJs were betting that it was the best show they had seen all year, and you know they must see quite a few.

From the first note this band had the entire audience in the palm of their hands. Every tune they played was as if it came down from somewhere up above and blessed the audience with groove. I have never seen a band switch gears so effortlessly before, and Sharon Jones delivered it all with a smile. She knows. It’s the only way to describe her. She just knows music and life. And what a voice.

The band were first rate, dressed in suits, and played in the pocket all night long. The drummer played kick, snare, hats, and a crash/ride. That’s it! He turned it out though, especially with such a mean left hand. I think every drummer should try that setup sometime, it’s a true test to see how musical you can be. Sounds like it would be easy, but it isn’t.

The band was headed to Europe next. If they come to your city, or you see that name somewhere in your city, go buy tickets. You will witness a true celebration of music, in the form of a nasty, funk & soul review.

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Robert Palmer
Robert Palmer

Forget everything you think of Robert Palmer from the 80’s and 90’s. “Sneakin’ Sally Through the Alley” is a true 70’s New Orleans-flavored funk masterpiece in every way. Vocal, melodies, music, production… they are all bad to the bone. Not to mention the fact that the band is a mix of The Meters and Little Feat. Zigaboo Modeliste! Every drummer should know that name if they don’t already. He is a drumming pioneer.

Robert Palmer is so smooth as well. It’s probably safe to say that he gives one of the best vocal performances ever recorded. This was when rock stars were actually real stars, the genuine thing. It is pure talent. Purely musical. They aren’t trying to be anything, they’re just playing from the heart. You can actually feel it. Lowell George’s guitar parts on this record go where most musicians can only dream of. Truly. And when you listen with headphones, this record is like an orgasm of instruments and vocals filling your ears.

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[Please stand]

The Lord is my drummer, I shall not rush.
He maketh me to lay out in tasteful places
He leadeth me beside cool meter changes
He restoreth my “one”.

Yeah man, though I read through the trickiest of charts,
I will fear no train wrecks.
For You are with it.
Your ride and Your snare, they comfort me

You setteth up a solo for me
In the presence of mine guitarists.
You annointeth my lines with drive.
My groove overfloweth.

Surely good feel and swing will follow me
through all the tunes of each set.
And I will dwell in the pocket
the whole gig long.

Amen. 😉

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In The Jungle Groove
In The Jungle Groove

It has been a while. I’m finally back to posting again after a long holiday on the north coast of New South Wales. Up and down the East Coast of Australia is just amazing. It’s all beach! Boogie boards, fishing, swimming, walking, lovely!

It’s been a while since I wrote about a great funk CD, so I thought this one would put the grease back in your stride! It’s James Brown’s In the Jungle Groove. This CD was James Brown’s transition from soul to funk, and this record solidified it. I think the album cover says it all. One of the best in my collection.

In the Jungle Groove is a pinnacle album for drummers because it contains two versions of “Funky Drummer”, a song with the baddest beat in the entire world. It’s certainly the most sampled beat ever. Funky Drummer contains the Clyde Stubblefield drum break that has been almost a foundation for hip-hop. It is the supreme drum loop! Full stop. This CD is worthy of a purchase just to learn that lick. And with an all-star cast of players, the entire album is bangin’ and in the pocket from start to finish.

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PT Drums Jeff Consi "Buttermilk" Signature Snare
PT Drums Jeff Consi Buttermilk Signature Snare

Have you ever wondered about how to get that big fat snare sound similar to Phil Rudd’s backbeat on “Back in Black”? That heavy, round backbeat that hits your body more like a bass drum than the crack of a snare. Aside from the tuning of the drum, I thought it was just hit hard and nail that thing! But I was wrong. I grew up trying to perfect the “rimshot” technique, which is hitting the snare skin and the rim of the snare at the same time. This produces a fantastic popping crack, and while it may work in certain funk or pop tunes, it doesn’t produce the heaviest sounding backbeat.

It wasn’t until I recorded with producer Jack Douglas that I learned how to really fatten up the backbeat. Jack, who recorded Joey Kramer’s “Walk This Way” groove, showed me how by hitting the drum dead center(sometimes just off center depending on the drum) and without hitting the rim, you get this great tone and warmth from the drum. It was a huge difference from the thin sounding rimshot crack. It actually took me a while to get comfortable with hitting just the skin of the snare, and I realized that you don’t have to hit it as hard to make it sound fat. It’s similar to the soft touch of a bass player, who will turn their volume up, but play softly so the bass really sings.

Most drummers may know this already, but if this technique is new to you, give it spin. The snare drum is the most expressive drum in the kit, and experimenting with all of the many sounds it can produce will take your playing to the next level for sure!